ARTO Movement

The winners of Bakat Muda Sezaman 29 were just announced. And every time this happens, the same question quietly comes back. Does BMS still matter? Because depending on who you ask, the answers can be quite different. Some see it as a legacy platform. Something that used to mean more. Others still see it as one of the few spaces where younger artists can really push themselves. Not just visually, but conceptually, physically, mentally. And I think this year, it still shows its relevance. (Photo credit:  Balai Seni Negara ) Norfatihah Yusof took the main award with Unharvested Futures: Voices of The Field. A work that doesn’t just sit in a space, but engages directly with it. With people. With context. With reality. And that, to me, is where things get interesting. Because if you look at the list of winners, there’s a noticeable thread. Works that are not just about form, but about presence. About negotiation with site, with community, with situation. One of ...

Around the final day of judging for the BMS29 (Photo credit: Balai Seni Negara ) “Aku bawak idea dan concept, tetapi pulau tu yg tentukan final form.” Khairul Ehsani Sapari started his Bakat Muda Sezaman 29th Edition (BMS29) journey in Langkawi a few months ago. He came with an idea and a concept. Yet somewhere along the process, the island itself decided what the final form would become. He arrived with a proposal. He left Langkawi with something else. I have known Khairul or Kerol, as I call him since 2014. A 12-year friendship at this point. Over the years, one thing I’ve realised about him is that he is extremely determined. Once he locks onto something, he commits to it fully. Sometimes almost obsessively. He mentioned participating in this year’s Bakat Muda Sezaman quite early on. In fact, he even asked me to join as well, but unfortunately I could not commit to it at the time. That did not stop him. Especially after one of our close friends, fellow Bukan Seni-Man , Nazrul Hamzah...

  Photo by Sime Darby Property When I first learned about the Elmina Outdoor Sculpture Museum (EOSM), I was immediately intrigued. The idea of an “outdoor sculpture museum” isn’t new globally. Places like Gibbs Farm, Hakone Open-Air Museum, and Storm King Art Center have long established what such spaces can be. These parks range dramatically in scale, from as small as 17 acres to over 1,000. EOSM, at around 300 acres, sits somewhere in between. Modest in comparison, but undeniably ambitious within the Malaysian context.  More importantly, it feels like a meaningful step toward connecting the general public with the art world. There has always been a lingering perception that art is exclusive, that you need to be “in the know” to belong. If you don’t understand the lingo, the references, or even the social codes, you risk feeling alienated or out of place. Whether or not this exclusivity is entirely real is beside the point. The perception exists, and in many ways,...

Photo by Patty Brito Once the last day of the graduate show ends, that’s it. No more student label. No more safety net. You’re an artist now or at least, that’s what it says. I touched on this question recently " if you study fine art, must you become an artist? " But what happens after that… is a different story. For a small group, things start off quite well. Their works sell during the show. Red dots here and there. People start paying attention. It feels like maybe… okay, being an artist might actually work. But for most, that’s not the case. Some sell one or two works. Some sell sketches. While some don’t sell anything at all. And that’s already your first reality check. After that, everyone tries to step into this idea of “being an artist.”  You graduate from fine art school, being an artist is the usual route, right? So, you set up a studio. Start producing. Keep the momentum going. Some continue their graduate series, well it makes sense, it already worked...

Dear Mama Supper club presents an experiential evening  Kasih Ibu Tak Bertepi An intimate evening of art, stories, shared meals, and warm conversation.  A gathering celebrating the love of mothers through: • Mother’s home-cooked meal • Live music • A daughter’s love letter to her mother • Exclusive viewing of Kasih Ibu -Latiff Mohidin 🗓 Saturday, 9 May 2026 🕗 8 PM 📍 Bertamu & Berjamu, A.P Art Gallery, Jalan Negara, Taman Melawati 🎟 RM125 per pax Early bird: RM100 (before 1st May) Space is limited.  RSVP via https://forms.gle/PVDQSHB5fFAoaD998

Photo by Junhyung Park I came across a question recently on Thread. A simple question but quite telling. “If I study fine art, what can I become?” The answers came quickly. "An artist." Said several people.  "A visual merchandiser." Said someone.  "A theme park artist." Said another.  In other words, the answer is still an artist. Just in different forms. And there is nothing wrong with the answer. A fine art education does train you to make. To think visually. To develop ideas into form. So naturally, the assumption is that you graduate and continue doing exactly that which is making artwork. But what I found more interesting was not what was said.  It was what was missing.  Because being a fine art graduate is not just about becoming an artist.  It’s about understanding how art exists.  Some graduates will go on to become practising artists, yes. They will produce, exhibit, build a body of work. They will take on that role fully.  Bu...

  Critical Reflection: On Khairul Ehsani Sapari’s 'Where Your Dreams Come to Die (But, Hey, It’s All About the Journey, Right?)' Reading Khairul Ehsani Sapari’s article, Where Your Dreams Come to Die (But, Hey, It’s All About the Journey, Right?) was like staring at a mirror that didn’t flatter but reflected truths I both knew and tried to ignore. I approach this reflection not as a distant reader, but as an insider—an art practitioner, teacher, and observer of the Malaysian art scene. The article’s biting sarcasm, caustic humor, and bleak yet accurate picture of post-graduation life in the arts resonated deeply. Though at first glance it reads like satire, there is sincerity within the cynicism. This essay attempts to critically reflect on the themes presented, unpack their implications, and consider how they align with my lived experiences and observations in the local art industry. The Tone of Brutal Honesty (Laced with Humor) From the opening line, the tone is unapol...